The Hunchback of Notre Dame (1939) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error The Hunchback of Notre Dame ( 1939 ) Not Rated | In 15th century France, a gypsy girl is framed for murder by the infatuated Chief Justice, and only the deformed bellringer of Notre Dame Cathedral can save her. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 35 titles created 02 Mar 2011 a list of 41 titles created 14 Mar 2011 a list of 22 titles created 27 Jan 2013 a list of 44 titles created 30 Jan 2013 a list of 44 titles created 5 months ago Title: The Hunchback of Notre Dame (1939) 7.9/10 Want to share IMDb's rating on your own site? Use the HTML below.

You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. See more awards » Videos The timeless tale of the seductive gypsy Esmeralda and the tortured hunchback Quasimodo. Director: Jean Delannoy In fifteenth century Paris, the brother of the archdeacon plots with the gypsy king to foment a peasant revolt. Meanwhile, a freakish hunchback falls in love with the gypsy queen. Director: Wallace Worsley In 19th century India, three British soldiers and a native waterbearer must stop a secret mass revival of the murderous Thuggee cult before it can rampage across the land. Director: George Stevens A disfigured man is feared and tormented by the townspeople of Notre Dame, but he has a sensitive nature of which few are aware. Director: Michael Tuchner An aged teacher and former headmaster of a boarding school recalls his career and his personal life over the decades.

Directors: Sam Wood, Sidney Franklin Stars: Robert Donat, Greer Garson, Terry Kilburn The Hunchback (TV Movie 1997) Drama | Horror | Romance Based on the novel, a young gypsy becomes a Minister's obsession in 1483. Only the bell ringer and her husband and the court of miracles can save her. Director: Peter Medak Edit Storyline King Louis XI is a wise and old king and Frollo is the Chief Justice. Frollo gazes on the gypsy girl, Esmeralda, in the church during Fool's Day and sends Quasimodo to catch her. Quasimodo, with the girl, is captured by Phoebus, Captain of the Guards, who frees the girl. The courts sentence Quasimodo to be flogged, and the only one who will give him water while he is tied in the square is Esmeralda. Later, at a party of nobles, Esmeralda again meets both Frollo, who is bewitched by her, and Phoebus.

When Phoebus is stabbed to death, Esmeralda is accused of the murder, convicted by the court and sentenced to hang. Clopin, King of the Beggars; Gringoire, Esmeralda's husband; and Quasimodo, the bellringer, all try different ways to save her from the gallows. Written by Tony Fontana <tony.fontana@spacebbs.com> BIG beyond words!...Wondrous beyond belief!...Magnificent beyond compare! (Title lobby card). See more » Genres: 29 December 1939 (USA) See more » Also Known As: Victor Hugo's Immortal Classic The Hunchback of Notre Dame See more » Filming Locations: (Turner library print) (copyright length) Sound Mix: Did You Know? Trivia RKO's original trailer shows Charles Laughton almost entirely from the back, except for a rapid, blurred shot of his face when he is revealed to the crowd at the Feast of Fools. The scene where Quasimodo talks to Esmeralda ("I'm not a man and I'm not a beast . . .

") is re-edited so the viewer can only see Maureen O'Hara 's face and the back of Laughton's head. Captions at the end read: "See the Storming of Notre Dame . . . See the Face of the Hunchback". See more » Goofs Quasimodo's misplaced eye never moves or blinks, belying the fact that it is a prosthetic. See more » Quotes Quasimodo, the bell-ringer : Ohh, you asked me why I saved you. I tried to carry you off, and the next day, you gave me a drink of water, and a little pity. Notre Dame's Celebrated Bell Ringer 30 August 2006 | by bkoganbing (Buffalo, New York) – See all my reviews Though the French have done many versions of Victor Hugo's celebrated classic, this version starring Charles Laughton has certainly stood the test of time and is the best known and loved in the English speaking world. Lon Chaney, Sr. did an acclaimed silent version of The Hunchback of Notre Dame and Laughton was following a great tradition. And he did it in the manner of Chaney, almost without dialog.

Not that Hugo wrote too much dialog for Quasimodo in his story, but except for his time with Esmerelda in the tower after he rescues her, Laughton is almost speechless in the film. Of course his character in addition to being deformed is also deaf from the ringing of those cathedral bells. Quasimodo born deformed as he was, was left as an orphan on the steps of the Notre Dame cathedral in medieval Paris. Raised in the sheltered atmosphere of the church, he derives some joy in his duties as the bell ringer in the tower. His mentor is the brother of the archbishop played by Cedric Hardwicke and the archbishop is Walter Hampden. Quasimodo's life is useful, but without love. But Laughton is crushing out on Esmerelda the gypsy girl played by Maureen O'Hara in her American screen debut. Problem is that Hardwicke is also getting hot and bothered by her. Hardwicke's role is the second best acted in the film next to Laughton's. He's a man with shall we say some issues. He's purportedly committed to the church and it's celibacy requirements. But Dr.

Freud wasn't around back in the day of Louis XI to tell us about sex drives. Hardwicke's desires mean only one thing, Esmerelda has to have bewitched him. When he kills Alan Marshal who is also interested in Maureen and looks like he's about to round third so to speak, the blame goes on Maureen. What I like about the story is how the lives of two very ordinary people, Quasimodo and Esmerelda, become the focal point for a whole lot of religious and political issues of the day. The church, the peasants, the just developing middle class, and the nobility all have an agenda as far as the Esmerelda murder case is going. The only agenda poor Quasimodo has is he's in love with her. Maureen O'Hara who was a discovery of Charles Laughton back in the United Kingdom was pushed by Laughton for the role of Esmerelda and traveled with him to America to play the part. She was grateful to him ever afterwards for any career she had and can't praise him enough for getting RKO to sign her. Harry Davenport probably plays the most benign Louis XI ever put on film.

It sure is a far cry from Basil Rathbone in If I Were King or Robert Morley in Quentin Durward. He plays him like the kindly grandfather he usually plays on screen. Thomas Mitchell as Clopin the king of beggars and Edmond O'Brien as Gringoire the poet are two other significant roles. O'Brien gets his first substantial role on screen in The Hunchback of Notre Dame and this was a banner year for Thomas Mitchell. In 1939 he was also in Mr. Smith Goes to Washington, Gone With the Wind and Stagecoach for which he won Best Supporting Actor. He could have though for any one of these films. When all is said and done though the film belongs to Charles Laughton who was the screen's best portrayer of tortured humanity. Even beneath all of Bud Westmore's grotesque make-up we can feel his anguish. He's not a stupid man Quasimodo, he knows how repulsive he is to most of the human race. He's childlike though, something like Peter Sellers in Being There, another character raised in a secluded atmosphere. To see Charles Laughton at the top of his game in my humble opinion one has to see The Hunchback of Notre Dame.

34 of 38 people found this review helpful. Was this review helpful to you? Yes ‎The Hunchback of Notre Dame (1939) directed by William Dieterle • Reviews, film + cast • Letterboxd 3 Why I watched it? I have seen many versions of this story...but this classic 1939 movie had somehow escaped me. Plus I have always enjoyed character actor Thomas Mitchell in movies....and I have been in love with Maureen O'Hara since seeing The Quiet Man. What's the movie about? Victor Hugo's classic tale of Quasimodo (Charles Laughton), Esmeralda (O'Hara), and Frollo. Q is a hunchback, E is a gypsy that everybody falls in love with. This leads to murder and people wrongly accused. How are the performances? Laughton is awesome as Quasimodo...his makeup is impressive...although his right eye never moves....it took 2.5 hours a day to get the makeup correct.

O'Hara is very sexy and makes it easy to believe that… Review by loureviews ★★★★ This adaptation of Victor Hugo's novel is sumptuously put together, boasting a fine script, tight direction by German export William Dieterle, and a cast who fit their parts perfectly: Charles Laughton superb as the maligned Quasimodo; Maureen O'Hara in an early role as gypsy Esmeralda; Cedric Hardwicke as the pious Frollo; and Harry Davenport as the king, Louis XI. The story is a version of Beauty and the Beast set within the confines of Notre Dame Cathedral and the dirt-strewn and prejudiced streets of Paris. Quasimodo, physically repulsive and deafened by the bells of the cathedral, nevertheless finds it in his childish heart to love the beautiful Esmeralda and to sacrifice his sanctuary for her.

She however only has eyes… Film 12/30 of Smiler Grogan's Scavenger Hunt Task #13: A live-action adaptation of a fairy tale adapted by Disney letterboxd.com/martinjacob49/list/scavenger-hunt-18-classics-comedies-and-continuations/ To all who complain that I cheated on this task because technically The Hunchback of Notre Dame is not a fairy tale, I don't give a crap. The Disney version had talking gargoyles, so there you go. As you well-likely know, I'm a big fan of the Disney version of The Hunchback of Notre Dame. To this day, it's still one of my favorites from the House of Mouse. It doesn't shy away from being dark and edgy at times, but there's still a heartwarming tale of faith and acceptance worth showing to all the kiddies.

If you haven't seen… Review by Sean Curley ★★★★½ One has the sneaking suspicion that this movie's two credited screenwriters, Sonya Levien and Bruno Frank, are in fact a joint pseudonym for the poet Pierre Gringoire -- so well does Gringoire fare in this particular adaptation of Victor Hugo's iconic 1831 novel (alas, poor Quasimodo, even when the studio mandates a change of ending, you still do not get your objet d'amour). This is, despite its altered ending, a very faithful adaptation in numerous respects. It is faithful even in its downer ending for Quasimodo, as mentioned above, even if it is not the same ending. For reasons best known only to them, the authors have decided to frame this story in conjunction with extensive references to the introduction… "Sanctuary!" - Charles Laughton 'The Hunchback of Notre Dame' - YouTube "Sanctuary!" - Charles Laughton 'The Hunchback of Notre Dame' Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented.

This feature is not available right now. Please try again later. Published on Aug 26, 2012 Here is a scene from one of the greatest films of the 1930s. The gypsy girl Esmeralda (Maureen O'Hara) has been sentenced to hang for witchcraft in front of Notre Dame cathedral by the Chief Justice (Sir Cedric Hardwicke). She is saved from certain death by the cathedral bell-ringer Quasimodo (Charles Laughton) to the delight of Gringoire, who loves her (played by a young Edmond O'Brien) and given sanctuary. Halliwell's Film Guide writes: "This superb 1939 remake is one of the best examples of Hollywood expertise at work; art direction, set construction, costumes, camera, lighting and above all direction brilliantly support an irresistible story and bravura acting." The set of Notre Dame Cathedral was still standing from the 1923 Lon Chaney silent version, so was re-used in this picture. The director (William Dieterle) was noted for his handling of huge crowds, as here, who had to endure a Californian heatwave during the outdoor scenes.

The musical score was one of Alfred Newman's finest and was nominated for an Oscar. However, there were in fact no Oscar wins for this film in 1939 but it was up against enormous competition, with 'Gone with the Wind' sweeping the board that year. Nevertheless it remains a classic movie and contains one of Laughton's very finest screen roles. (Scene uploaded from the Warner Bros. DVD with all due acknowledgements.) Category Hunchback of Notre Dame (CLICK ON ALL IMAGES FOR LARGER VERSIONS ) Set in medieval fifteenth century France, "The Hunchback of Notre Dame" is an outstanding adaptation of the Victor Hugo (1802-85) novel of the same name. For its time it had a huge budget with imposing grandiose sets, an all-star cast and magnificent on-location filming. The story revolves are the magnificent Notre Dame Cathedral in the heart of Paris. Notre Dame built in the 12th century is displayed magnificently by cinematographer Joseph August. Charles Laughton is the Hunchback, Quasimodo ( meaning "misshapened man" or "half made"), a deformed bell-ringer who lives in the cathedral.

He and many other characters fall in love with young enchanting gypsy girl, Esmerelda played by Maureen O'Hara ( only nineteen at the time of filming), Joining Quasimodo with infatuated love are idealistic poet/playwright Gringoire ( played by Edmund O'Brien in his film debut ), the Hunchback's father figure, conniving Jean Frollo (Cedric Hardwicke in a role originally intended for Basil Rathbone) the medieval controller of France as well as a guard, Phoebus ( Alan Marshal). Other characters who are politically interceded by Esmerelda's presence are King Louis XI (Harry Davenport), the King of Thieves (Thomas Mitchell) and the Archdeacon of Notre Dame, Frollo's brother, played by Walter Hampden. Esmerelda charms all watchers with her dancing. What a Babe! Frollo openly gazes at Esmerelda's cleavage. This film was the first version of the story to be made during the sound era and contains all the elements of a complete motion picture.

It evokes all emotions from pathos for the whipping of Quasimodo, revulsion at his appearance, innocence and naivetï¿½ of the young Esmerelda. Love lost and found, and justice becoming complete all within a historical references imagery designed by Van Nest Polglase, they are a unique combination of studio back-lots and miniatures and of course, the real thing. Cleverly showing the growing division of church and state, King Louis remarks on the lack of advancement due to the age of customs and rituals with Notre Dame in the background. One inanimate device is used to represent the coming of projected modernization ( remember the bicycle in "Butch Cassidy and the Sundance Kid" ). Here a fascinated king - ( happy to live in an age of great beginnings - determined to bathe twice a year!! ) embraces the Guttenberg Press, which will be used to disseminate information to all, peasant and nobleman alike. The Church views the press as the devil and is destroyed. The King hears about the Guttenberg Press that can reproduce a book in a matter of weeks, as opposed to the old method of writing it out, which could take years.

Quasimodo is sentenced to be publicly flogged for his misinterpretation of Frollo's wishes. As well as satisfying the audiences gruesome curiosity about the "Hunchback". We see the true colors of some of the characters. We witness the cruel public whipping of Quasimodo, and it's reaction by the main characters. Quasimodo begs for water While on the pillory. Esmerelda to the rescue. A turning point in the storyline. Later, Frollo jealously kills Phoebus and then covers it up projecting his guilt onto Esmeralda, claiming she "bewitched him". He admits to the Archbishop that his passion for the gypsy drove him to kill Phoebus. Esmerelda is tortured and sentenced to death as the presumed murder. The crowd is totally silent as inconspicuous Quasimodo athletically saves Esmerelda from execution. "Sanctuary" The rescued Esmerelda is coveted, respected and looked after by Quasimodo in the sanctuary of his home, the Cathedral. Was Quasimodo the physical manifestation of the psychologically twisted Frollo ? ( Remember "Forbidden Planet" ? ). It would seem plausible but unlikely.

I have read this theory bantered about the Internet, but I am inclined not to believe the film had that much depth. It is perfect as it is, without embellishment. 1939 was the landmark year in the history of film and more than one classic was left in the shadows of "Gone with the Wind", "The Wizard of Oz", "Stagecoach" and "Wuthering Heights", to name but a few. So was the case with The Hunchback of Notre Dame, which is seems almost impossible to find fault. Some movies cause you to remember portions of other films as you watch them. Perhaps many attributes were influenced by the scenes drifting through your memory banks... perhaps not. For myself, the 1939 lavish production of The Hunchback of Notre Dame causes me to remember: The making of the large bell in Andrei Rublev as Quasimodo joyfully rocks on his 4 large bells ( named by him : Jacqueline, Gabrielle, Guillaume & Big Marie). I see the obvious comparison of Cocteau's Beauty and the Beast ( 1946 ).

Camelot from 1967 as Esmerelda is saved from her public execution just as Lancelot saved Guenevere from hers. Jean de Florette which also contains a French hunchback, The Story of Adele H. which although about his daughter makes references to Victor Hugo's classic literary works. The Hunchback of Notre Dame was written by Hugo at age 28. I saw something of Dryer's Passion of Joan of Arc. It being silent caused expression through Maria Falconetti's eyes, just as the deaf for the sound of the bells he loved and mostly silent Quasimodo in his distorted body and terrifying face shows humanity and kindness through his gestures and eyes. Both quite successfully were able to project deep feeling for the human soul. A goal sot after from ever director in the past 100 years. Bravo ! The lovers look back as heartbroken Quasimodo laments, "Why couldn't I be made of stone..." Harry Davenport .... King Louis XI Katharine Alexander .... Madame De Lys George Zucco .... The Procurator of the High Court of Paris George Tobias .... The One-Eyed Beggar-Hangman Fritz Leiber (I) ....

Nobleman with King at Festival Minna Gombell .... Mme. Clopin, Queen of Beggars Etienne Girardot .... The King's Physician Arthur Hohl .... Olivier, the King's page rest of cast listed alphabetically Sig Arno (as Siegfried Arno) Curt Bois Spencer Charters .... Clerk of the High Court Earl Clyde .... Festival Juggler (uncredited) Charles Drake .... Bit (uncredited) James Fawcett (I) .... Festival Ball-walker (uncredited) Peter Godfrey (I) .... Monk Rondo Hatton .... First 'Ugly Man' Contestant (uncredited) Otto Hoffman .... Deaf Judge Victor Kilian .... Gypsy driving the carriage (uncredited) Rod La Rocque .... Phillipo Ray Long .... Festival Skeleton Dancer (uncredited) Angela Malmos .... Helene, first to see Quasimodo (uncredited) Paul Newlan .... Flogger (uncredited) Nestor Paiva .... Man In Street When Gypsies Arrive (uncredited) Russ Powell (I) .... Second 'Ugly Man' Contestant (uncredited) Ward Shattuck ....

Festival Juggler (uncredited) Alan Spear .... Festival Contortionist (uncredited) Helene Whitney (I) .... Fleur [bit blonde] Charles Laughton in (IMHO) the Best Version of HUNCHBACK OF NOTRE DAME - Read expert review at epinions.com Charles Laughton in (IMHO) the Best Version of HUNCHBACK OF NOTRE DAME Review by xxxxer in Music March, 25 2013 Pros: Amazing cast; a thrilling climax that ends with one of the greatest single shots ever Cons: Hollywood ending tacked on Bettering one of the best silent films at its own game, William Dieterle's 1939 version of The Hunchback of Notre Dame borrows the best of Wallace Worsley's 1923 version and takes it to the limit of what was possible onscreen during what has to be one of Hollywood's greatest years. Worsley's silent film featured expansive sets, inventive camerawork, and fantastic performances, bringing home the tragic story of a disfigured bell-ringer, the gypsy he's fallen in love with, and the various men who have been transfixed by her beauty.

Dieterle's film tells the same story, plus or minus a few things, but seems to take the human side of the story that much further, aided by the fact that the characters can now speak their own dialogues instead of relying on body language and title cards. In the end, we have (for my money) the ultimate version of Victor Hugo's classic tale and probably one of the best films from Hollywood's heyday. Screenwriter Sonya Levien (working from material by Bruno Frank) probably deserves significant credit for the success of this picture. You can almost feel a woman's viewpoint seeping through this tale, as the titular character Quasimodo fights for Esmeralda, the woman he loves, after she's falsely accused of murdering a potential suitor named Phoebus. Levien's treatment of the characters seems much more sympathetic than the portrayal in the 1923 version, which started out depicting the title character not as a human being to be pitied, but as a monster to be feared. Here, the Quasimodo character (brilliantly played by Charles Laughton) is a tragic figure right from the start, and instantly we begin to understand his deep pain and torment.

The Esmeralda character (played by Maureen O'Hara) seems more fleshed out as well, more than just the sympathetic but mostly ditzy gypsy she was depicted as in the silent version. Her plight when she's convicted of murder and sentenced to be executed seems more immediate and affecting in this version, in turn making the last quarter of the film fairly tense and exciting. Director William Dieterle's entire production is an indication at just how rich the talent pool was in Hollywood circa 1939. In the same year that produced Gone With the Wind, The Wizard of Oz, Dark Victory, Gunga Din and Ninotchka to name but a few, RKO pictures had an accurate model of medieval Paris and the Notre Dame cathedral constructed at their movie ranch, employed some 3000 extras as performers, and enlisted the help of some of the best actors and technicians to make The Hunchback of Notre Dame happen. The end results are evident onscreen. This film is flawlessly acted, with each one of the main performers commanding the screen whenever they're around.

Aside from the lead duo of O'Hara and Laughton, we also have Sir Cedric Hardwicke as the villainous Frollo, Edmond O'Brien as the goofy but noble male romantic lead Gringoire and Thomas Mitchell as the rough'n'tumble leader of the Parisian lower class. It's a remarkable cast across the board and each performer adds to the overall quality of the piece. Technically speaking, the film is again a marvel. Dieterle, who began his career in Germany in the early 1930s, clearly had a knack for Expressionistic techniques which shine through in the film's set design – particularly in the jagged mass of its background buildings. Dieterle's experience with this style also turns up in a particularly creepy early scene which finds Gringoire being harassed by beggars and riffraff. During the scene, seemingly disfigured and often cackling subhuman-like beings enter the scene from every shadowy corner of the frame, making the entire sequence quite unnerving. The cinematography of Joseph H.

August clearly borrows some shots from the 1923 version, and Dieterle's mastery of controlling and choreographing large crowds is evident when high-angle long shots show massive groups in action either in early festival scenes or in later more action-oriented set-ups. As good as the technique is, it probably wouldn't have amounted to much if the set and production didn't match the wonderfully elaborate and expansive sets of the 1923 version, and the crew here doesn't disappoint. This film boasts probably one of the most unbelievably majestic sets ever constructed and it finishes with what may be the most breathtaking single take I've ever seen. This final shot is a definite “WOW!” moment that literally has to be seen to be believed, demonstrating precisely the scale of this production. Compared to the earlier silent version, Dieterle's film seems much more modern, having in mind the expectations of a more mainstream audience. The script changes around some of the details, and a few of the mostly irrelevant subplots present in the original novel and in the 1923 film version have been eliminated altogether.

Thankfully (in my opinion), these omissions include almost all the material about Esmeralda's love interest Phoebus, who barely shows up in this 1939 version after featuring prominently in the earlier film. Phoebus seemed like a jerk of a character in both film versions; I couldn't buy the romance between he and Esmeralda in the silent version in the least and I was somewhat glad he was more or less left out of the Dieterle film. The absence of this character in the '39 version, however, sets a fairly different scenario in motion during the middle stretch of the film. Instead of focusing on the two lovers attempting to reunite, Dieterle's film focuses on various subplots involving each of the major characters. It also allows Quasimodo to take a more active role in the film during the section leading up to the rousing climax. Whereas Lon Chaney's Quasimodo in the silent version took a back seat during this time, Charles Laughton's character seems more entwined with the ongoing drama of Esmeralda's criminal trial.

Aside from the way in which I believe the audience feels more for the characters in the 1939 version, one of the biggest differences between the two films is in their overall mood. The 1923 version has a sort of raw sexual edge during some of the scenes involving Esmeralda and Phoebus which is underplayed in the later version likely due to the restrictions put in place by the production code. Some minor political allegory involving gypsies being refused entry to Paris included in the ‘39 film would have made sense at the time of production - especially considering that the director was a German national – and Dieterle's work at creating an eerie mood during some key early sequences (such as when Quasimodo attempts to kidnap Esmeralda) looks better onscreen than corresponding scenes in the silent version. The '39 version also goes pretty hard at delivering what most people would consider a Hollywood ending for the story. This finale is unlike both the ending of the 1923 film and the original Victor Hugo novel, and while it seems kind of hokey and overly convenient, I still think it's this ending that seems to work the best for me.

It's somewhat unfortunate that William Dieterle's Hunchback of Notre Dame was released in 1939 since the film seems vastly underrated and sometimes forgotten in the crowd of exceptional movies that were released that year. Honestly, this is one of the most well-performed, riveting and emotionally affecting films a viewer is likely to find, with a script that's remarkably humanistic and sympathetic in its portrayal of characters. The cinematography is fantastic, Alfred Newman's music hits just the right emotional chord, and the sense of spectacle involving both the elaborate sets and large-scale action sequences is fascinating to behold. The finale to the film probably ranks with the chariot race sequence of Ben-Hur (a picture made twenty years after Hunchback) as one of cinema's greatest, most rousing action sequences, and I'd urge any one who enjoys movies to check this film out. DVD Details = Warner Brothers’s DVD has a gorgeous full-frame print, fifteen-minute documentary on the making of the film, and several categories of brief production notes included Blood & Guts = Some violent material, but nothing graphic Language = Nothing objectionable Fap Factor = You can see down Maureen O’Hara’s dress a few times, but I mean who notices that stuff...

The Hunchback of Notre Dame (1939 film) explained The Hunchback of Notre Dame (1939 film) The Hunchback of Notre Dame (1939 film) explained The Hunchback of Notre Dame Producer: (musical adaptation and original composition) Cinematography: Gross: $3,155,000 The Hunchback of Notre Dame is a 1939 American film starring Charles Laughton as Quasimodo and Maureen O'Hara as Esmeralda . [3] [4] Directed by William Dieterle and produced by Pandro S. Berman , the film was based on Victor Hugo 's novel of the same name . For this production RKO Radio Pictures built on their movie ranch a massive medieval city of Paris and Notre Dame Cathedral , one of the largest and most extravagant sets ever constructed. Plot Prologue"With the end of the 15th century , the Middle Ages came to a close. Europe began to see great changes. France , ravaged by a hundred years of War , at last found peace. The people under Louis XI felt free to hope again ~ to dream of progress.

But superstition and prejudice often stood in the way, seeking to crush the adventurous spirit of man." SynopsisThe film opens with Louis XI, the King of France, and Jean Frollo , the King's Chief Justice of Paris , visiting a printing shop . Frollo is determined to do everything in his power to rid Paris of anything he sees as evil, including the printing press and gypsies , who at the time are persecuted and prohibited from entering Paris. That day is Paris' annual celebration, the Festival of Fools . Esmeralda , a young gypsy girl, is seen dancing in front of an audience of people. Quasimodo , the hunchback and bell ringer of Notre Dame Cathedral , is crowned the King of Fools until Frollo catches up to him and takes him back to the church. Esmeralda is caught by guards for entering Paris without a permit and is being chased after until she seeks safety in Notre Dame, to which Claude , the Archbishop of Paris and Jean's brother, protects her. She prays to the Virgin Mary to help her fellow gypsies only to be confronted by Jean Frollo, who accuses her of being a heathen.

Afterwards she asks King Louis to help her people, to which he agrees. Frollo then takes her up to the bell tower where they encounter Quasimodo, whom she is frightened of. She tries to run away from the hunchback until he catches up to her and physically carries her away. Pierre Gringoire , a poor street poet, witnesses all this, calls out to Captain Phoebus and his guards, who capture Quasimodo just in time. Esmeralda is then saved and starts falling in love with Phoebus. Gringoire later trespasses the Court of Miracles but is saved by Esmeralda from hanging by marrying him. The next day, Quasimodo is sentenced to be lashed in the square and publicly humiliated afterwards. Frollo, seeing this, realizes that he can't stop the sentence because it already happened, and abandons him instead. However, Esmeralda arrives and gives him water, and this awakens Quasimodo's love for her.Later that night, Esmeralda is invited by the nobles to their party. Frollo shows up to the party, where he confesses to Esmeralda his lust for her.

Afterwards she dances in front of the nobles and moves away from the crowd with Phoebus to a garden where they share a moment between each other. Frollo then kills Phoebus out of jealousy, and Esmeralda is wrongly accused of his death. Afterwards, Gringoire visits Esmeralda in her prison cell to console her. Frollo confesses the crime to his brother, and is the one in charge of Esmeralda's trial and sentences her to death. After she is about to be hanged in the gallows, Quasimodo saves her by taking her to the cathedral. When Gringoire and Clopin realize that the nobles will revoke Notre Dame's right of sanctuary, they both try different methods in order to save Esmeralda from hanging. Gringoire writes a pamphlet that will prevent this from happening, and Clopin leads the beggars to storm the cathedral. Frollo confesses his crime to King Louis, to which Louis orders Olivier to arrest him. Afterwards the King talks to Gringoire after reading his pamphlet. Meanwhile, Quasimodo and the guards of Paris fight off Clopin and the beggars.

Afterwards he sees Frollo in the bell tower seeking to harm Esmeralda, and throws him off the cathedral top. Later that morning, Esmeralda is pardoned and freed from hanging, and her Gypsy people are also finally freed. Then, she leaves with Gringoire and a huge crowd out of the public square. The film makes it clear that in the end Esmeralda truly loves Gringoire. Quasimodo sees all this from high on the cathedral and says sadly, to a gargoyle, "Why was I not made of stone, like thee?", and the film ends. Cast Siegfried Arno as Tailor Censorship The characters of Claude Frollo and Jehan Frollo are changed as in the 1923 film : instead of being the bad archdeacon as in the novel, Claude is good, and his original position as a villain was given to his younger brother, Jehan, who was a drunken student in the novel and again portrayed as an older man instead of a teenager.

The only difference in this film is that Claude (credited as "Archdeacon" in the end credits) is portrayed as the Archbishop of Paris and Jehan (known in the film as "Jean Frollo" or "Frollo") is portrayed as a judge and close advisor to the King. Award nominations Academy Award for Best Sound ( John Aalberg ) Reception Frank S. Nugent of The New York Times wrote a mostly negative review of the film, finding it "little more" than "a freak show". Though he acknowledged it was "handsome enough of production and its cast is expert," he called it "almost unrelievedly brutal and without the saving grace of unreality which makes Frankenstein 's horrors a little comic." [6] Variety called the film a "super thriller-chiller" but found that the elaborate sets tended to overwhelm the story, particularly in the first half. [7] Harrison's Reports wrote, "Very good! Audiences should be thrilled anew by this lavish remake of Victor Hugo's famous novel." [8] Film Daily called it "compelling, dynamic entertainment." [9] John Mosher of The New Yorker wrote that Laughton "achieves something like a tour de force.

The lines themselves (such modernisms as 'to buy protection'), along with a perfunctory plot arrangement, are among the weak features of the film, which otherwise is a vivid pictorial drama of fifteenth-century Paris." [10] E. H. Harvey of The Harvard Crimson said that the film "in all is more than entertaining." He said that "the mediocre effects offer a forceful contrast to the great moments" in the film. [11] The movie was very popular but because of its cost only made a profit of $100,000. [2] Home video The Hunchback of Notre Dame was released on September 21, 2001 on DVD by Image Entertainment . Turner Classic Movies showing Turner Classic Movies presented The Hunchback of Notre Dame on November 20, 2015 as part of its 24-hour "TCM Memorial Tribute to Maureen O'Hara" [who died on October 24], with commentary by host Robert Osborne . Shown earlier were 1939's Jamaica Inn , 1961's The Deadly Companions , 1963's Spencer's Mountain and McLintock!

, 1965's The Battle of the Villa Fiorita , 1971's Big Jake and 1957's The Wings of Eagles . Following The Hunchback of Notre Dame, the tribute continued with 1952's The Quiet Man and At Sword's Point , 1947's Sinbad the Sailor and 1945's The Spanish Main . [12] Opening Comments"Hi, I'm Robert Osborne. We've set aside our regularly scheduled programming today to pay tribute to the beautiful Maureen O'Hara, who died last October twenty-fourth at the age of ninety-five. And our next film with Maureen O'Hara is the one that first brought her to the world's attention back in nineteen thirty-nine. She was born in County Dublin , Ireland, her real name was Maureen FitzSimons and she'd actually made her movie debut while sh… she was still in her teens in the British movie called Kicking the Moon Around . But it wasn't long until Maureen was in Hollywood, making a very flashy impression in this movie we're about to show you, which is The Hunchback of Notre Dame.

And with the face that she had and that Irish spunk that she radiated, she couldn't miss — and she didn't. Our movie is the nineteen thirty-nine version of the Hunchback story, with Maureen as Esmeralda and Charles Laughton in the role made famous sixteen years earlier by silent screen legend Lon Chaney . But the general consensus is that no version of this eerie story by Victor Hugo of The Hunchback of Notre Dame can quite match this version we're gonna bring you now. It was directed by William Dieterle , produced on a lavish scale at RKO Studios by Pandro S. Berman . And, as the book Halliwell's Film Guide says, it's one of the best examples you'll ever find of Hollywood expertise at work in all departments. So here's Maureen O'Hara at the very start of her legendary career in the ambitious nineteen thirty-nine version of The Hunchback of Notre Dame." Closing comments"Charles Laughton worked very hard to play Quasimodo in this movie in a… a way that would compare favorably to Lon Chaney's famous performance in the nineteen twenty-three silent version of the story.

Laughton, like Chaney, also had to put up with a great deal of discomfort while doing the role. I mean, to get the right look for the Hunchback, Laughton was wrapped in latex and foam rubber to add the needed weight and size, all of which would have been extremely uncomfortable at any time, but was especially so when The Hunchback was filmed. At that time, Los Angeles was being hit by a big heat wave, the temperatures hovering around a hundred and ten degrees, and sound stages of movie studios in those days were often without air conditioning. Yikes! It's said that when Maureen O'Hara first saw Laughton made up to play the Hunchback, she couldn't believe that was him and that he was able to withstand the heat. She said to him, 'Good God, Charles, is that really you?' and he just winked at her and limped off to his dressing room. External links The Hunchback of Notre Dame at Turner Classic Movies Notes and References Book: 1993. Hanson. Patricia King. The American Film Institute Catalog of Motion Pictures Produced in the United States: Feature Films, 1931-1940.

Berkeley and Los Angeles. University of California Press. 976. 0-520-07908-6. Richard Jewel, 'RKO Film Grosses: 1931-1951', Historical Journal of Film Radio and Television, Vol 14 No 1, 1994 p56 Variety film review; December 20, 1939, page 14. Harrison's Reports film review; December 23, 1939, page 202.

Question: Who played Esmeralda, to Charles Laughton's Quasimodo, in the 1939 version of the film, "The Hunchback of Notre Dame"?
Answer: MAUREEN O'HARA